View/Open - University of Victoria
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View/Open - University of Victoria
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116<br />
sentence statements seen in the previous paragraph by assigning qualities <strong>of</strong> “qi” 奇 to what is<br />
perceived in the poems as well as how, in simple terms, the poet-narrator perceives the poems'<br />
existents, 37 thus refining and broadening the long established characterization <strong>of</strong> the “qi” 奇 <strong>of</strong> Cen<br />
Shen's northwestern landscape. Gao Jianxin 高 建 新 , for instance, emphasizes how the existents <strong>of</strong> the<br />
poems' settings embody the “robust and uncommon” (qiqiao 奇 峭 ) quality <strong>of</strong> Cen Shen's frontier<br />
poetry; 38 these include both the towns and garrisons <strong>of</strong> the northwestern region, or “Hu lands” (hudi 胡<br />
地 ), such as Jiuquan 酒 泉 , Luntai 轮 台 , and Anxi 安 西 , and their beautifully bizarre geographic and<br />
cultural features. Gao also cites several poems which exhibit “unusual” naturally occurring features <strong>of</strong><br />
Cen Shen's frontier landscape, such as Hot Lake 热 海 and Fire Mountain 火 山 . Cases in which time<br />
and temperature seem unaligned, 39 as in lines seven to eight <strong>of</strong> “Late Spring at Hexi and Having<br />
Recollections <strong>of</strong> Qinzhong” (“Hexi chunmu yi Qinzhong” 河 西 春 暮 忆 秦 中 ), are also selected by Gao<br />
to further qualify the “strange” (qi 奇 ) in the non-human environment described by Cen Shen's poet<br />
narrator:<br />
凉 州 三 月 半 Half way through the third month at Liangzhou, 40<br />
41<br />
犹 未 脱 寒 衣 And still one has yet to take <strong>of</strong>f winter clothes.<br />
(lines 7-8)<br />
Finally, glimpses are <strong>of</strong>fered by Cen Shen's poet-narrator <strong>of</strong> “strange and unusual; extraordinary” (qiyi<br />
奇 异 ) and “peculiar” (qite 奇 特 ) food, clothes, interior furnishings and music 42 serve to conclude Gao's<br />
37 The actor or item <strong>of</strong> a setting. In the sentence “Henry smelled a most divine piece <strong>of</strong> toast in the kitchen”, Henry and<br />
toast, the subject and object <strong>of</strong> the sentence, are existents <strong>of</strong> the setting “kitchen”. See Gerald Prince, A Dictionary <strong>of</strong><br />
Narratology (Lincoln: <strong>University</strong> <strong>of</strong> Nebraska Press, 1987), p. 28.<br />
38 Gao Jianxin 高 建 新 , “Hudi yu Cen Shen biansaishi zhi qiqiaomei 胡 地 与 岑 参 边 塞 诗 之 奇 峭 美 ”Neimenggu daxue<br />
xuebao 内 蒙 古 大 学 学 报 ( 哲 学 社 会 科 学 版 ) 2009.1, pp. 3-8.<br />
39 A common technique for describing the frontier in Chinese frontier poetry. See chapter three for examples and a brief<br />
discussion.<br />
40 Wuwei county 武 威 县 , Gansu province.<br />
41 CSJJZ, p. 90. Qinzhong 秦 中 refers to an area <strong>of</strong> today's central Shaanxi 陕 西 province.<br />
42 See for example “Song <strong>of</strong> Hu” 胡 歌 , “Seventh Month at Luntai” 首 秋 轮 台 , “Written After Getting Drunk at a Banquet